Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malawi and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Leonard Cohen to the crunk kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Deakin. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Echospace,
Essential Logic,
MDC,
Los Fastidios,
Television Personalities,
Sam Rivers,
Deadbeat,
CMW,
Thompson Twins,
Anakelly,
Lafayette Afro Rock Band,
Nation of Ulysses,
Skriet,
Duran Duran,
Eric Dolphy,
Iggy Pop,
Trumans Water,
Depeche Mode,
Tom Boy,
Barrington Levy,
Albert Ayler,
Organ,
Eli Mardock,
Dead Boys,
R.M.O.,
Strawberry Alarm Clock,
Nas,
Wire,
Eurythmics,
E-Dancer,
Bad Manners,
The Pop Group,
Swans,
New Order,
Camron Feat. Jay Z And Juelz,
Brick,
Inner City,
Gil Scott-Heron & Brian Jackson,
Rhythm & Sound,
Siouxsie and the Banshees,
Camron Feat. Memphis Bleek And Beenie Seigel,
Patti Smith,
Franke,
Symarip,
Susan Cadogan,
The Residents,
The Modern Lovers,
Pole,
Nick Cave & The Bad Seeds,
Colin Newman,
Jacob Miller,
Jerry's Kids,
Larry & the Blue Notes,
Bobby Sherman,
June Days,
Josef K,
Max Romeo,
Quando Quango,
Drive Like Jehu,
Kerrie Biddell,
John Lydon,
Tubeway Army,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.